Who let the dogs out?
(Woof woof woof woof Who let the dogs out?
(Woof woof woof woof woof.) Who let the dogs out?
(Woof woof woof woof Who let the dogs out?
Well, the par ty was nice; the par ty was (G7)pump in’ (Yip ee yi (C)yo.) and ev ’ry bod y hav in’ a (G7)ball
(Yip ee yi yo.) but un til me, “Hey the fel las start they name (G7)call in’ (Yip ee yi yo.) You put a wom and in the girls re spond to the (G7)call.
I heard a wom an shout out, who let the dogs out?
(Woof woof woof woof Who let the dogs out?
(Woof woof woof woof woof.) Who let the dogs out?
(Woof woof woof woof Who let the dogs out?
(Woof woof woof woof Last (F)year the dance we all had a ball, calls you (Cmaj7)mil li bug and sket tell.
(G)Get back, gruf fy.
Mash, scruf fy.
Get back, (F)you flea (Em)in fest (G)ed mon (CN.C.)grel.
Gon na tell ty my self I man, no get (G7)an gry (Yip ee yi (C)yo.) to hear de girls call in’ them ca (G7)nine
(Yip ee yi yo.) but they tell me, “Hey the man, it’s part of the (G7)par ty.” (Yip ee yi yo.) You put a wom an in the front and a man be (G7)hind.
I heard a wom an shout out, who let the dogs out?
(Woof woof woof woof woof.) let the dogs out?
(Woof woof woof woof woof.) Who let the dogs out?
(Woof woof woof woof woof.) let the dogs out?
(Woof woof woof woof Last (F)woof.) the dance we all had a ball, calls you (Cmaj7)mil li bug and sket tell.
(G)Get back, gruf fy.
Mash, scruf fy.
Get back, (F)you flea (Em)in fest (G)ed mon (CN.C.)grel.
Say!
A (C5)dog gy is noth in’ if he (G)don’t (F)have (Em)a (G)bone.
(C)(All dog gy hold your bone, all dog gy hold it.) A (C5)dog gy is noth in’ if he (G)don’t (F)have (Em)a (G)bone.
(C)(All dog gy hold your bone, all dog gy hold it.)
(CN.C.)woof.) Who let the dogs out?
(Woof woof woof woof Who let the dogs out?
(Woof woof woof woof (CN.C.)woof.) Who let the dogs out?
(Woof woof woof woof woof.) let the dogs out?
(Woof woof woof woof (Woof woof woof woof Last (F)year the dance we all had a ball, calls you (Cmaj7)mil li bug and sket tel.
(G)Get back, gruf fy.
Mash, scruf fy.
Get back, (F)you flea (Em)in fest (G)ed mon (Gsus)grel.
(CN.C.)woof.) Who let the dogs out?
(Woof woof woof woof Who let the dogs out?
(Woof woof woof woof (CN.C.)woof.) Who let the dogs out?
(Woof woof woof woof woof.) let the dogs out?
(Woof woof woof woof (C)woof.) Who let the (Am)dogs out?
(G)(Woof woof woof woof (Am)Who let the dogs out?
(G)(Woof woof woof woof (C)woof.) Who let the (Am)dogs out?
(G)(Woof woof woof woof (Am)woof.) let the dogs out?
(G)(Woof woof woof woof (G)(Woof woof woof woof (C)woof.) Who let the (Am)dogs out?
(G)(Woof woof woof woof (Am)Who let the dogs out?
(G)(Woof woof woof woof (C)woof.) Who let the (Am)dogs out?
(G)(Woof woof woof woof (Am)woof.) let the dogs out?
(G)(Woof woof woof woof (C)woof.)
This page shows “Who Let The Dogs Out” by Baha Men in our color-coded kid songbook view — every note is colored by pitch (red C, orange D, yellow E, green F, blue G, purple A, pink B) and the lyrics sit directly under each note, so children can sing along while they play. The song is in the key of C at 120 BPM, a medium-difficulty arrangement — try slowing the tempo down using the BPM control.
This arrangement is a great workout for your right hand's ability to move between closely related chord shapes — you'll shift between C, C6, and Cmaj7, which often means just lifting or adding one finger while the rest of the hand stays anchored. Pay special attention to the G to Gsus4 to G7 transitions; practice those three shapes in isolation until your fingers know the difference by feel, not just by sight. Your left hand keeps an octave bass pattern throughout, which sounds simple but at 120 BPM it demands a relaxed wrist — if you're tensing up, slow it to 90 and build back gradually. I'd suggest learning the verse groove hands-separate first, then combine before tackling the chorus, where the energy picks up and the chord changes come faster. The trickiest stumbling point is usually the syncopated rhythmic push right before each chorus — count it out loud, clap it, then play it. This is honestly one of the best pieces for training your hand to navigate extended chords like maj7 and sus4 without panic, and that skill will follow you into dozens of other pop songs.